For twenty years Christian Boltanski (Paris, 1944) has a privileged relationship with Bologna: in 1997 the city hosted his first great Italian solo show where the artwork Les Regards was presented, inspired by photographs of fugitives partisans that relatives placed In a corner of Piazza Nettuno after Liberation,
One of the most significant consequences of the omnipresent multiplication of the image in the media era is the crushing of reality in a myriad of visual testimonies leveled by the net that are increasingly populist and unable to produce reliable hierarchies of meaning.
Born in Bologna in 1928 and moved to Paris in the late 1950s, Salvatore Nocera, an artist who was intellectually restless and reserved, never exhibited in his hometown and left evanescent and confused traces of his artistic production, neglecting titles and dating and sometimes coming to destroying his own works or claiming possession once sold.
What do the Academy students take in the intricate art system they are about to enter? What creative languages do theyprefer and what aspects of reality do they think it is more urgent to emerge? What are for the so-called digital natives the distinctive features of our time and how do they envision the future?
In five years of activity, the MAST Foundation in Bologna has created a vast collection of photographic images by the most important international masters who have documented and interpreted the history of industry and work since 1860.
“The archives are silent giants”. Thus Urs Stahel debuts in his presentation of the exhibition La forza delle immagini. Collezione MAST. Una selezione di fotografie su industria e lavoro (The power of images. MAST Collection. A selection of photographs on industry and work).
With the exhibition of Marco Ceroni GALLLERIAPIÙ turns itself into an exploded urban space where decontextualized and manipulated objects and fragments of reality amplify the imaginative potential of seemingly inert details of everyday life. Interacting with semantic vacuum gaps that show the artificiality of our environment,
Ginevra Grigolo’s Studio G7 gallery opens on October 13, 1973 in a receptive and bursting Bologna, not yet aligned, above all at the institutional level, with the most up-to-date contemporary debate that at that time found space only in big cities and in a limited number of magazines difficult to find even for the insiders.
On 15 November 1974, De’ Foscherari gallery inaugurated the exhibition “Ghenos, Eros and Thanatos” where the curator Alberto Boatto, one of the most radical critics of art in that period, brought together 13 artists dedicated to eroticism intended as a driving force connecting the two extremes of birth and death.
The city’s suburbs are increasingly surrounded by disused factories and buildings that rise like gloomy witnesses of recent upheavals of the globalized economy and the consequent production and social changes: